Oreilly Photoshop CS5 The Missing Manual_5 pot

449  :   :   Skin Softeners Figure 10-16: Top: A quick way to create a layer you can use for your faux dodging and burning is to use the New Layer dialog box; press �-Shift-N (Ctrl+Shift+N on a PC) to call it up. Set the Mode menu to Soft Light and then turn on the “Fill with Soft-Light-neutral color (50% gray)” checkbox and click OK. Bottom: When you use faux dodge and burn, your subject retains his character but his wrinkles aren’t so distracting. Notice how much brighter his eyes are, too. The whites were dodged and the darker rim of color around the outer edge of each iris was burned. Here’s how to do some faux dodging and burning: 1. Open your image and, in your Layers panel, Option-click (Alt-click on a PC) the “Create a new layer” button. In the resulting dialog box, name your new layer Dodge Burn, choose Soft Light from the Mode pop-up menu, turn on the “Fill with Soft-Light-neutral color (50% gray)” checkbox, and then click OK. Sure, you could create a new layer, use the Edit➝Fill command to fill it with gray, and then change its Mode set- ting, but this way is faster. 450 P CS: T M M Show-Stopping Eyes 2. Press B to grab the Brush tool and set its opacity to 10–20 percent. To touch up your image gradually, lower the brush’s opacity to something be- tween 10 and 20 percent. Yes, the retouching takes longer, but you can dodge and burn little by little, which is better than doing too much at once. 3. Set your foreground color chip to white for dodging. Take a peek at the color chips at the bottom of your Tools panel. Press D to set them to black and white and then press X to flip-flop them so white is on top. 4. Mouse over to your image and paint across the dark wrinkles. To lighten just the shadowy parts of the wrinkles, you need to use a small brush (or else you’ll lighten areas that don’t need to be lightened). It’s also helpful to zoom way in on your image when you’re doing detailed work like this. You can zoom in or out by pressing � (Ctrl on a PC) and the + or – key. Photoshop gives you a pixel-grid view when you zoom in more than 500 percent (see page 61). 5. Swap color chips so that your foreground color is black and then paint light areas that you need to burn (darken). If the wrinkles are so deep that they cause highlights, you can darken those a little. In Figure 10-16 the edge of each iris was also darkened to make the man’s eyes look brighter. 6. Lower the Dodge Burn layer’s opacity slightly. If you’ve overdone the changes a bit, you can lower the layer’s opacity. 7. Save your document as a PSD file in case you ever need to go back and alter it. Show-Stopping Eyes One of the simplest yet most impressive eye-enhancing techniques is waiting for you over in Chapter 11. Just as you can selectively blur an image, you can also selectively sharpen it. Hop on over to page 472 to see how to use sharpening to make eyes really pop. Here in this section, you’ll learn how to enhance and whiten eyes, fix red eye a bazillion different ways, and even get the scoop on fixing your furry friends’ eyes. Enhancing Eyes A quick and painless way to make eyes stand out and look sultry is to lighten them by changing their blend mode to Screen. This technique enhances the iris and brightens the white bits at the same time, as Figure 10-17 shows. To achieve this ef- fect without duplicating the original layer (which increases your file’s size), just use an empty Adjustment layer. 451  :   :   Show-Stopping Eyes Figure 10-17: If you use an empty Adjustment layer set to Screen mode, you can add a whole new dimension to your subject’s eyes. (The original image is at left and the adjusted image is on the right.) The cool thing about this technique is that it enhances the iris and the white part simultaneously. Here’s how to quickly enhance eyes: 1. Pop open a photo and add an empty Adjustment layer. Click the half-black/half-white circle at the bottom of the Layers panel and choose Levels from the menu. When the Adjustments panel opens, click the double arrows at its top right or the dark gray bar at the top of the panel to close it (you don’t need to actually make a levels adjustment). 2. Set the Adjustment layer’s blend mode to Screen. At the top left of the Layers panel, use the pop-up menu to change the blend mode to Screen. When you do, Photoshop makes your whole photo way too light, but don’t panic—you’ll fix it in the next step. 3. Fill the Adjustment layer’s mask with black. Peek in your Layers panel and make sure the Adjustment layer’s mask is selected (it should have a tiny black outline around it). To hide the over-lightening that happened in the previous step, choose Edit➝Fill, pick Black from the Use pop- up menu, and then click OK. 4. Grab the Brush tool and set the foreground color chip to white. Press B to grab the Brush tool and then glance at the color chips at the bottom of the Tools panel. If white’s on top, you’re good to go; if it’s not, press D to set the chips to black and white and then press X until white is on top. Now you’re ready to paint a hole through the mask so the lightening will show through only on your subject’s eyes. 452 P CS: T M M Show-Stopping Eyes 5. Paint the eye area. Mouse over to your image and paint the eyeballs. If you mess up, just press X to flip-flop the color chips and paint with black. 6. Duplicate the Adjustment layer. Once you’ve got the mask just right, you can intensify the effect by duplicating the Adjustment layer. Press �-J (Ctrl+J on a PC) to duplicate the layer and lower the duplicate’s opacity to about 50 percent. 7. Save the image as a PSD file. Ta-da! This technique makes a galactic difference, and your subject’s eyes will pop off the page. Fixing Red Eye One of the most annoying things about taking photos with a flash is the creepy red eyes it can give your subjects. Photoshop’s Red Eye tool does a good job on most cases of red eye, though sometimes you’ll encounter a really stubborn case that just refuses to go away. That’s why it’s good to have a few tricks up your sleeve, including stealing pupils from another channel, using the Color Replacement tool, creating a Hue/Saturation Adjustment layer, or fixing ’em in Camera Raw. This section ex- plains all those options. The Red Eye tool Oh, man, if only all of Photoshop’s tools were as easy to use as this one! The Red Eye tool is part of the Healing Brush toolset (it looks like an eye with a plus sign next to it). Just grab the tool, mouse over to your document, and draw a box around the eye, as shown in Figure 10-18, top. As soon as you let go of your mouse button, Photoshop hunts for the red inside the box and makes it black. That’s all there is to it! Tip: If this tool doesn’t zap the red-eye completely on the first attempt, try pressing ⌘-Z (Ctrl+Z on a PC) to undo it and increase the Pupil Size and Darken Amount settings in the Options bar and then have another go at it. 453  :   :   Show-Stopping Eyes Figure 10-18: Contrary to what you might think, it’s better to draw a box around the whole eyeball rather than just around the pupil. For some odd reason, the smaller the box, the less effective the Red Eye tool is. WoRKARoUNd WoRKSHop Stealing Pupils from Channels Why bother with all this red-eye fixing mumbo jumbo when you’ve got perfectly good black pupils in your Chan- nels panel? (Since Photoshop doesn’t display channels in color, the pupils aren’t red.) There’s certainly no law saying you can’t pop into your image’s channels and snatch the pupils from there. Here’s how to do it: 1. Open your Channels panel by clicking its icon in the panel dock (page 188) or by choosing Window➝Channels. Then stroll through the chan- nels by clicking each one or by pressing �-3, 4, 5 (Ctrl+3, 4, 5) to find the channel where the pupils are darkest (it’s most likely the Green channel). If you’re in CMYK mode, you’ve got one extra channel to look at, which you can see by pressing �-6 (Ctrl+6). 2. Grab the Elliptical Marquee tool (page 139) and draw a selection that’s slightly larger than the pupil in one eye. Then press and hold the Shift key to draw a se- lection around the other pupil. 3. Ctrl-click (right-click) in one of the selections (it doesn’t matter which one) and choose Feather from the resulting shortcut menu. In the resulting dialog box, enter 1 in the Feather Radius field and then click OK. 4. Copy the pupils by pressing �-C (Ctrl+C on a PC) and then turn the composite channel (page 189) back on by pressing �-2 (Ctrl-2). 5. Open your Layers panel and create a new layer for the pupils: Click the “Create a new layer” button at the bottom of the panel, name the layer New Pupils, and then place it above the photo layer. 6. Paste the pupils onto the new layer by pressing �-V (Ctrl+V). Poof—you’re done! Your subject should look much less demonic now. 454 P CS: T M M Show-Stopping Eyes The Color Replacement tool Another option for getting rid of super-stubborn red eye is the Color Replacement tool. If you choose black as your foreground color chip, you can use this tool to re- place the red with black. But because this tool is destructive (and because there’s no way of knowing what kind of job it’ll do), it’s best to select the eyes and jump them onto their own layer first. Here’s what you do: 1. Select the eyes and copy them onto another layer. Using the Lasso tool (page 162), draw a rough selection around both eyes (grab the whole eye, not just the pupil) and then press �-J (Ctr+J on a PC) to jump the eyes onto their own layer. That way, if this technique goes south, you can toss this layer and start over. 2. Select the Color Replacement tool from the Tools panel. It’s hiding in the Brush toolset, and it looks like a brush with a tiny curved arrow pointing to a black square (the square is supposed to represent your foreground color chip). You can press Shift-B repeatedly to cycle through this toolset. 3. Set your foreground color chip to black. Press D to set your color chips to black and white, and then press X until black hops on top. Alternatively, you can set the new color by Option-clicking (Alt- clicking on a PC) an eyelash or other black part of the eye. 4. In the Options bar, set the Mode field to Hue, the Limits field to Contiguous, and the Tolerance field to around 30 percent. Choosing the Hue blend mode means you’re replacing color without altering its brightness (for more on blend modes, see page 289). The Contiguous setting tells Photoshop to replace only the red pixels that are clustered in one spot and not separated by other colors. The Tolerance setting determines how picky the tool is: lower numbers make the tool pickier; higher numbers result in a color- replacing free-for-all. 5. Paint the red away. You’ll want to use a small brush for this maneuver. Press the left bracket key ([) to cycle down in brush size, and the right bracket key (]) to cycle up, or Ctrl- Option-drag (Alt+right-click+drag on a PC) to the left or right to decrease or increase your brush size. When you’ve got a size that looks good, mouse over to the pupils and paint over the red, being careful to touch only the red with your cursor’s crosshair. 455  :   :   Show-Stopping Eyes 6. When you’re finished painting, use the Eraser tool or a layer mask to clean up the area just outside the pupil, if necessary. If you end up with a little black outside the pupil, you can use the Eraser tool (see Appendix D, online at www.missingmanuals.com/cds) to fix it because you’ll erase to the original layer below. Press E to select the Eraser and carefully paint away any extra black pixels. You can also add a layer mask to the eye layer and paint with black to hide the excess black. 7. Save your document as a PSD file and call it a day. Hue/Saturation Adjustment layers Yet another option for fixing red eye is to zap the red with a Hue/Saturation Adjust- ment layer, which you learned about in Chapter 8. Select the red eyes with the Lasso tool, click the half-black/half-white circle at the bottom of your Layers panel, and then choose Hue/Saturation from the pop-up menu. When the Adjustments panel opens, adjust the sliders until the red eye leaves the building. The Sponge tool As a last resort, you can use the Sponge tool to desaturate (remove) color from the pupils. The Sponge tool looks—not surprisingly—like a sponge, and it’s part of the Dodge toolset. Though you can use this tool to desaturate or saturate an image, it’s set to desaturate (which is what you want when you’re zapping red eye) until you change it. After you grab the Sponge tool, head up to the Options bar and change the Flow field to 100 percent or you’ll be painting for days (it’s set at 50 percent originally). Finally, mouse over to your image and paint over the red area repeat- edly until it turns almost black. This technique takes a while, but it’s guaranteed to work…eventually. Fixing red eye in Camera Raw Camera Raw’s Red Eye Removal tool looks and works the same as Photoshop’s. It’s handy to have this ability in Camera Raw because, if you’re shooting in Raw format and you don’t need to do any other editing in Photoshop, you don’t have switch programs just to fix red eyes. After you open an image in Camera Raw (see page 234), press E to grab the Red Eye Removal tool. Then simply draw a box around the eyeball, as shown in Figure 10-19, and let go of your mouse button. 456 P CS: T M M Show-Stopping Eyes Figure 10-19: When you’re finished using the Red Eye tool in Camera Raw, you’ll see a black-and- white circle around the pupil, letting you know that Raw made the red-eye fix. Just switch to another tool and the box disappears. Click Done to save your changes and close the Camera Raw window. Fixing Animal White Eye Okay, technically animals aren’t people—though to some folks (your author includ- ed) they might as well be. Our furry friends have a version of red eye, too; it’s called white eye, and it can ruin their photos, too. Actually, white eye is more challenging to fix than red eye because there aren’t any pixels in the eye left to work with—the pupils turn solid white. The Red Eye tool won’t work because the pupils aren’t red, and the Color Replacement tool won’t work because there’s no color to replace. The solution is to select the pupil and fill it with black, and then add a couple of well-placed glints (tiny light reflections) to make the new pupils look real (see Figure 10-20). 457  :   :   Show-Stopping Eyes Figure 10-20: Selecting the blown- out pupils (top), adding some black paint, and topping it off with two flicks of a white brush to add a glint transforms Miss Abbey from devil dog to angel in minutes. Here’s how to fix your furry friend’s eyes: 1. Open the image and select the white pupils. Since you’re selecting by color, you can use either the Magic Wand or the Quick Selection tool: Just click one pupil and then Shift-click the other. You can also select them with the Elliptical Marquee: Draw a selection around the first pupil and then press and hold Shift while you draw a circle around the second pupil. While you’re holding the mouse button down, you can press and hold the space bar to move the selection around as you’re drawing it. 2. Feather the selection with Refine Edge. Once you’ve got marching ants, click the Option bar’s Refine Edge button bar and make sure the resulting dialog box’s Feather field is set to one pixel and the Smooth field is set to one (otherwise the edges will be too soft). To make sure you get all the white bits, you might expand your selection by 10 to 20 percent or so by dragging the Contract/Expand slider to the right. When you’re finished tweaking your selection, click OK. 458 P CS: T M M Show-Stopping Eyes Note: Remember, the settings in the Refine Edge dialog box are sticky—they reflect the last settings you used. So take a second to make sure they’re all set to zero except for the ones mentioned here. 3. Create a new layer named New Pupils. Click the “Create a new layer” button at the bottom of the Layers panel, name the layer, and make sure it’s at the top of the layers stack. 4. Fill the selection with black. To recreate the lost pupil, press D to set your color chips to black and white and then press X until black is on top. Next, press Option-Delete (Alt+Backspace on a PC) to fill your selection with black. If the color doesn’t seem to reach the edges of your selection (which can happen if you feathered or smoothed your edges a little too much in step 2), fill it again by pressing Option-Delete (Alt+Backspace). Once you’ve filled the pupils with color, you can get rid of the marching ants by pressing �-D (Ctrl+D) to deselect. 5. Create another new layer and name it Glint. You’ll want to soften the glints you’re about to create by lowering layer opacity, so you need to put the glints on their own layer. 6. Grab the Brush tool and set your foreground color chip to white. Press X to flip-flop color chips and, with a very small brush (10 pixels or so), click once in the left eye to add a glint to mimic the way light reflects off eyes (every eye has one). Next, click in the exact same spot in the right eye to add a sister glint. Then lower the glint layer’s opacity to about 75 percent. 7. Save your document as a PSD file. Pat yourself on the back for salvaging such a great shot of your pet. [...]... grab the Adjustment Brush, increase the Sharpness slider (circled here), and then paint the headband If you want to decrease the sharpening in a specific area, drag the Sharpness slider to the left into negative numbers To better see the area you’re adjusting, turn on the Show Mask option near the bottom right of the Camera Raw window, shown here 484 Photoshop CS5: The Missing Manual ... fix that in the next step 3 Invert the Mask channel by choosing Image➝Adjustments➝Invert Photoshop flip-flops the info in the Mask channel so the image’s edges are white instead of black (see Figure 11-8) That way, when you copy the Mask channel and paste it into a layer mask on the sharpened layer, the sharpening is revealed only along the edges; the black areas hide the sharpening from the rest of... one In Photoshop, the Unsharp Mask filter studies each pixel, looks at the contrast of nearby pixels, and decides whether they’re different enough to be considered an edge (you control how picky the filter is using the Threshold setting, shown in Figure 11-2 and discussed below) If the answer is yes, Photoshop alters the pixel to increase the contrast of that edge The basic process is simple: Photoshop. .. a realistic effect At the top of the Layers panel, change the Opacity field to approximately 50 percent to lessen the effect of the sharpening you applied in step 3 9 Save the image as a Photoshop (PSD) file With this method, you’re not harming the original pixels, and you can alter the layer’s opacity to lessen the effect and make it look real instead of otherworldly Saving the document as a PSD file... Unsharpened Oversharpened 460 Photoshop CS5: The Missing Manual Figure 11-1:  Left: You can easily spot the edges in this image because its contrast is pretty high Right: In this beforeand-after close-up of the Chihuahua’s antlers—who does that to their pet?—see how the edges are emphasized after some overzealous sharpening (bottom)? The weird white glow around the antlers is the dreaded sharpening halo... increasing contrast in the midtones (the colors in your image that fall between the lightest and darkest) It involves using the High Pass filter, which essentially keeps the highest-contrast edges in your image (the ones with the biggest difference between colors) and makes everything else gray 478 Photoshop CS5: The Missing Manual Advanced Sharpening Techniques Figure 11-10:  Top: The original image with... it to the right to preserve contrast and texture, or drag it to the left to throw caution to the wind and produce a smoother, lessnoisy image Out of the box, this slider is set to 0 Note: The new Luminance Detail and Luminance Contrast sliders are dependent on the Luminance slider—if it’s set to 0, they’ll both be grayed out The fix is to increase the Luminance slider in order to activate the other... 100 in the Sharpen tab’s Amount field but want Photoshop to do a bit less sharpening in the shadows, click the Shadow tab and enter a Fade Amount of 25 percent or so If you want no sharpening to happen in the shadows, enter 100 percent (This setting is similar to the Fade command you learned about in the box on page 467.) 468 Photoshop CS5: The Missing Manual Basic Sharpening Figure 11-4:  The Smart... options to Luminosity Click the tiny icon to the right of the Unsharp Mask layer to open the filter’s blending options Change the Mode pop-up menu to Luminosity and then click OK to close the dialog box Sit back and marvel at your new Photoshop sharpening prowess! If necessary, you can always use the Smart Filter’s mask (the big white thumbnail beneath your image layer) to hide the sharpening from areas... values) and leaves the color alone But should you use Camera Raw for sharpening? The answer is yes—if you’re not going to edit the image much in Photoshop If you are going to do a lot of editing in Photoshop, you should save the sharpening for your very last step (after retouching and resizing) and use one of the methods described earlier in this chapter instead 480 Photoshop CS5: The Missing Manual Sharpening . setting, which controls the sharpening intensity, ranges from 1 percent to 50 0 percent. The higher the setting, the lighter Photoshop makes the light pixels and the darker it makes the dark pixels choose Feather from the resulting shortcut menu. In the resulting dialog box, enter 1 in the Feather Radius field and then click OK. 4. Copy the pupils by pressing �-C (Ctrl+C on a PC) and then. then choose Hue/Saturation from the pop-up menu. When the Adjustments panel opens, adjust the sliders until the red eye leaves the building. The Sponge tool As a last resort, you can use the